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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
CHAMBER REVIEW
Roe-Thorsteindøttir Duo / Sunday, February 01, 2015
Elizabeth Joy Roe, piano; Sæunn Thorsteinsdøttir, cello

Cellist Sæunn Thorsteinsdóttir

KNOTTY CELLO MUSIC THAT WAS (MOSTLY) EASY TO LOVE

by Terry McNeill
Sunday, February 01, 2015

Notable cello concerts have recently graced Sonoma County with Edward Arron’s Oakmont recital and Yo Yo Ma’s sterling solo outing in Weill. So it was not surprising that Sæunn Thorsteindóttir walked onto the Schroeder Hall stage Feb. 1 with pianist Elizabeth Roe and found a packed house of non-Superbowl fans.

In the first half contrasts abounded, beginning with the charming Beethoven Variations on “Bei Männern” from the Magic Flute and ending with the demanding Britten Sonata from 1961. The seven Beethoven variations served as an excellent warm up work, the balances good and the cellist using chaste vibrato and a secure and radiant bow style. Acoustics in the hall gave the instrument a pellucid sound, carrying easily to upper rows of seats.

The Britten is a tough work to love with sad, lyrical and restless sections combining in its five movements. Using the score as she did throughout the recital Ms. Thorsteindóttir played the long first movement with intensity, ending it with an extended tranquil fermata that was echoed by Ms. Roe’s gentile right hand tremolo. The aggressive pizzicato technique in the Scherzo was juxtaposed by demanding bursts from the piano, a question and answer dialogue that was compelling.

A plodding dirge characterized the following Elegia with bracing washes of sound and broad notes from the cello and hushed up-and-down octave jumps from the piano. The playing in the fourth movement caught the bouncy and banal nature of the music that turned at times to eerie and strident cello notes high on the fingerboard.

Skittish outbursts permeated the playing in the concluding finale and the tempos were fast but never out of control. The unison playing was faultless. The applause was substantial but not protracted.

Rachmaninoff’s early Sonata in G Minor, an easy piece to love, took up the entire second half and received a generous and grand reading. Ms. Thorsteindóttir doesn’t command a big outgoing sound, but she has a salutary tone quality and was ready to defer pride of place to her partner in many sections. The Rachmaninoff piece needs a pianist with a big technique and profile, and Ms. Roe was up to the task. As is well known with Rachmaninoff there are a lot of notes (difficult ones too) but if some are skipped or smudged the texture isn’t quite right. The pianist’s playing occasionally had this result and covered the cellist with extended use of the shift pedal and lavish employment of the damper pedal.

The second and third movement performances were highlights of the concert, especially in the provocative scherzo where the players were on fire with inspiration. The themes overflowed with passion. In the famous Largo Ms. Thorsteindóttir’s first entry following the lovely piano introduction was opulently colored and her conception throughout was subtle and restrained.

The playing of the weighty themes in the finale lacked clarity but was never wanting in momentum and potency. This music animated the audience of 250 and a standing ovation resulted.

Ms. Thorsteindóttir announced an encore, the short slow movement from the Chopin G Minor Sonata, Op. 65. Here the playing was captivating, each phrase integrated in a shapely and prismatic whole.